us, whilst many are covered with rude
sculpture in relief. They are generally finished with a plain square
abacus moulding, with the under edge simply bevelled or chamfered;
sometimes a slight angular moulding occurs between the upper face and
slope of the abacus, and sometimes the abacus alone intervenes between the
pier and the spring of the arch. There are also many round capitals, as,
for instance, those in the nave of Gloucester Cathedral, but they are
mostly late in the style.

[Illustration: Norman Arcade, St. Augustine's, Canterbury.]

Q. What is observable in the bases of the piers?

A. The common base moulding resembles in form or contour a quirked ovolo
reversed; there are, however, many exceptions.

[Illustration: Norman Base, Romsey Church, Hants.]

Q. How are the arches distinguished?

A. By their semicircular form; they are generally double-faced, or formed
of two concentric divisions, one receding within the other. Early in the
style they are plain and square-edged; late in the style they are often
found enriched with the zig-zag and roll mouldings, or some other
ornament. Sometimes the curvature of the arch does not immediately spring
from the capital or impost, but is raised or stilted.

Q. What parts of Norman churches do we generally find vaulted?

A. In cathedral and large conventual churches built in the Norman style we
find the crypts and aisles vaulted with stone, but not the nave or choir;
and over the vaulting of the aisles was the triforium. In small Norman
churches the chancel is generally the only part vaulted; and between the
vaulting and outer roof is, in some instances, a small loft or chamber.
Sometimes we find the original design for vaulting to have been commenced
and left unfinished.

[Illustration: Norman Arch and Piers, Melbourne Church, Derbyshire.]

Q. Of what description was the Norman vaulting?

A. The bays of vaulting were generally either squares or parallelograms,
though sometimes not rectangular in shape, and each was divided into four
concave vaulting cells by diagonal and intersecting groins, thus forming
what is called a quadripartite vault. Early in the style the diagonal
edges of the groins appear without ribs or mouldings; at an advanced stage
they are supported by square-edged ribs of cut stone; and late in the
style the ribs and groins are faced with roll or cylinder mouldings. They
are also sometimes profusely covered with the zig-zag moulding and other